Tag Archives: Oli Holland

June 6, 2013 · 2:17 am

Sean Wayland & David Berkman @ CJC Winter International Series

Sean Wayland

Sean Wayland

We don’t get many offshore Jazz pianists visiting New Zealand, but we have seen quite a few over recent weeks. This particular gig comes hot on the heals of hearing Sean Wayland appearing as featured guest artist with the marvellous Jazzgroove Mothership Orchestra. Sean had impressed me at the JMO gig and so I really looked forward to hearing him play at the CJC (Creative Jazz Club).

Before he had played a note Sean Wayland won us over with his easy-going banter. Especially when he thanked us for Mike Nock and mentioned band mate Matt Penman. These are two of Auckland’s best-loved sons and I suspect that Kiwi’s, like Canadians, enjoy our worth acknowledged by the big country next door. This generous acknowledgement by a respected New York based (Aussie born) pianist reveals an interesting truth about Australasian Jazz.

There may be a struggle to meet the financial realities, deal with lack of good pianos and the paucity of gigs, but the two scenes continually produce world-class Jazz musicians. The Scenes are in fact so intermingled that it is often hard to know who is an Aussie and who is a New Zealander. Steve Barry and Mike Nock illustrate this perfectly as they live and work in Australia. Roger Manins lives in New Zealand but gigs across the Tasman every other week.

In spite of the difficulties there is no lack of great music coming out of Australasia and the main problem is that of distribution. An upside of this changing business model is that bands travel more. For the keen Jazz fan live music is once again king. We don’t have to wait for a multi-national recording label to tell us what we should or shouldn’t like, we can explore ‘You Tube’ or ‘Bandcamp’ and hear from the artists directly.

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Sean Wayland is a hugely respected figure on the Australian scene and in New Zealand as well. He is a very modern pianist, as he moves in circles where new approaches are constantly being explored and new sounds developed. After listening to his compositions I was not in the least surprised to find him supported by the likes of Matt Penman, Jochen Rueckert, Will Vinsen, and James Muller. This is essentially the Rosenwinkel generation. While he speaks that language fluently he is unmistakably an individual stylist. No one sounds quite like Sean.

Sean’s tunes are very melodic. Often unfolding over a simple bass line as with ‘eenan’ off his ‘Lurline’ album. What sounds catchy and accessible can actually be quite complex as his approach to rhythm gives the tunes that unique feel. This is tension and release at its sophisticated best. I have put up a version of ‘eenan’ as a ‘You Tube’ clip which unfolds in subtle and beguiling ways. So beguiling in fact that I dreamed the tune two nights in row. Such powerful hooks are not accidental but the result of careful craftsmanship. There is a strong sense of pulse or swing to his tunes, but approached from a different perspective to that of the more traditional pianist.

This intergenerational shift is one that I hear more often as the changing of the guard occurs. Other tunes played to great effect were his, ‘Trane plus Molly equals countdown” and the solo piece ‘Little Bay’. Both of those tunes are found on the ‘Expensive Habit’ album. ‘Trane plus Molly equals countdown’ hints at McCoy Tyner, but you quickly realise that the voicings have very modern in feel. I can however certainly imagine Kurt Rosenwinkel doing the tune. It is an extraordinary composition where the left hand continuously punctuates the flow with oblique accents. I was left wanting more than the single set and I certainly hope that we get to see Sean again on his next trip back to Australia.

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Accompanying Sean were Cameron MacArthur (bass) and Jason Orme (drums). Both accomplished musicians who quickly slotted into the challenges of supporting a world-class and highly inventive pianist.

The next artist up was David Berkman. He has been to New Zealand before and anyone who saw him last time would have jumped at the opportunity of seeing this top flight New York Pianist in action. There is a fluidity to his playing and above all an impeccable sense of timing. This hard-driving post bop fluidity and the big bluesy chords is what most characterises his work.

The Kiwi members of the quartet were Roger Manins (tenor), Olivier Holland (bass) and Ron Samsom (drums). Together they formed a powerhouse of inventiveness and Roger in particular seemed to benefit from this grouping. His solo’s were so incendiary as to cause gasps of surprise and from an audience who are used to such pyrotechnics. While we expect Rogers high wire acts he is always able to surprise us and this night saw him really on fire. David Berkman certainly knows how to amp up the tension and his ability to extol a horn player to reach deeper and deeper is impressive. He worked the room with as much enthusiasm as he would have done in a prime New York club and everyone there appreciated that commitment. This was the kind of gig where you sat back and let the sound wash over you, tapping your feet uncontrollably and yelling enthusiastically between numbers.

David Berkman

David Berkman

David Berkman’s repertoire was a well-balanced mix of his own compositions and some lessor known standards. During the gig he talked about his mentor, the much respected pianist Mulgrew Miller (who sadly passed away that very evening). He has worked with a wide variety of artists such as trumpeters Tom Harrell and Dave Douglas and his contribution to Jazz education is well-known. Having moved to New York some years ago he quickly settled into the routines of gigging, recording and teaching and since then he has been a fixture on the local scene. He travels extensively and is a Palmetto recording artist.

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The two pianists were very different, but both were amazing in their way. In David Berkman we heard the history of the post bop era and in Sean Wayland we glimpsed the future.

What: Sean Wayland and David Berkman Winter International Series.

Who: Sean Wayland (p) (leader) Cameron McArthur (b) Jason Orme (d). – David Berkman (p) (leader), Roger Manins (s), Oli Holland (b), Ron Samsom (d)

Where: CJC (Creative Jazz Club) 29th May 2013

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May 17, 2013 · 1:36 pm

Phil Broadhurst ‘Flauberts Dance’@CJC

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Phil Broadhurst is a regular at the CJC (Creative Jazz Club) just as he was at the ‘London Bar’ in its hey day.   He is also the compiler and presenter of the well-known Jazz radio slot ‘The Art of Jazz’.  His last album titled ‘Delayed Reaction’ was well received and shortlisted in the Jazz Tui Awards.  It was dedicated to the music of Michel Petrucciani, the diminutive and wonderfully brilliant French pianist whose life was blighted by ‘brittle bone syndrome’.  That project was obviously a labour of love, as Phil had long been immersed in Petrucciani’s music.  The album, (out on IA-Rattle), outlined a very personal journey for Phil and while showcasing the project about New Zealand he must have pondered ‘what next’?   The what-next is ‘Flaubert’s Dance’.

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From ‘Delayed Reaction’ it was a logical step to examine other artists who had influenced him and for whom he had a deep affinity.  Not all are pianists but all take a pianistic approach to their music.  All are currently at the top of their game.  The compositions on ‘Flauberts Dance are all Phil Broadhurst’s and they are dedicated to the following musicians:  Herbie Hancock, Manu Katche, Enrico Pieranunzi, Eliane Elias, Kieth Jarrett and Tomasz Stanko.   What these artists have in common is striking originality, a modern approach to harmony and the fact that none of them are easy to compartmentalise.  They are consequently quite different from each other.    A Tomasz Stanko tune and a Manu Katche tune could hardly be confused even though they have worked together.  IMG_6922 - Version 2

It is obvious from the above list that Phil often reaches outside of the Americas for musical inspiration.  While Jarrett and Hancock have influenced most modern pianists their ubiquitous presence tends to eclipse others of equal importance.   It is therefore fitting that the latin infused Brazilian born Eliane Elias and the two Europeans give counterweight to the North Americans.   The composition ‘First Shot’ dedicated to Hancock looks at a particular tune rather than the scope of his career to date.   I truly like this number as it has the distinct feel of a European or an Antipodean acknowledging Herbies work, not an American.

Phil has had no trouble in assembling top class musicians for the album and with Roger Manins (tenor sax), Olivier Holland (bass)  and Cameron Sangster (drums) his quartet had depth and experience.   He also enlisted trumpeter Mike Booth for three numbers.

The title track on the album is dedicated to the scandalously underrated and utterly brilliant Italian Pianist Enrico Pieranunzi.   This track ‘Flaubert’s Dance’ had everyone listening in rapt silence and even though the club filled to bursting point you could have heard a  pin drop.  With unerring accuracy he has dived right into the essence of the man he pays homage to.   The voicings, the phrasing and a unique sense of weightless swing that is so European.  When Roger Manins comes in the Pieranunzi connection deepens.  Bringing to mind the Italian tenor player Stefano de Anna who along with Hein Van de Geyn featured so strongly on the classic Pieranunzi album ‘Don’t Forget the Poet’.  IMG_6927 - Version 2

Tenor player Roger Manins always gives of his best and he showed us once again that he can wring deep sentiment and even prettiness out of ballads while never sounding cliched.  In the mid tempo tunes he imparts that intensity and locomotive drive that he is so well-known for.  When the tunes are explorations, it is only fitting to have a born story-teller like Roger onboard.  Olivier Holland (bass) has often played in Phil Broadhurst line ups and his approach is that of the consummate professional.   These days it is not uncommon to hear bass players vocalising lines an octave above the pitch.   Once the preserve of Major Holley and Slam Stewart, Oli has increasingly been employing that technique (but not so much arco bass).   His improvisational approach has always been solid but the vocalising appears to extend that.   It is perhaps like a saxophone player having the words of a standard firmly in their head as they lay down the melody.   It changes the dynamic in positive ways.   Cameron Sangster (drums) works across many genres and he is one of the few drummers to appear regularly with big bands in Auckland.   He has a strong sense of space and dynamics and can switch to a more colourist mode if the number requires that.   He is also able to moderate his sound to a room.   A tasteful drummer.  The remaining band member is trumpeter Mike Booth who played on three numbers.  His soloing and ensemble work is great and musicians about town are often utilising him for his impressive and varied skills.   He and Roger in lock-step are a force to behold.   Both the quartet and quintet gave Phil Broadhurst adequate room to shine and he did.

What: The Phil Broadhurst Quartet

Who: Phil Broadhurst (piano), Roger Manins (tenor sax), Olivier Holland (bass), Cameron Sangster (drums) – guest Mike Booth (trumpet).

Where and What: ‘Fauberts Dance’ album released by Rattle Records  -   CJC (Creative Jazz Club) basement 1885 Brittomart building, Auckland

Number filmed by Jennie Sol

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March 4, 2013 · 5:43 pm

Dr Dog Unleashed @ CJC

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A few weeks ago someone had whispered, “Dr Dog is back”.  What started as a mere dog whistle soon became an insistent rumour; confirmed beyond doubt when I saw a red van cruising the streets with ‘who let the dogs out’ emblazoned on its side.    I checked the CJC (Creative Jazz Club) website and sure enough there was the gig listing.   Dr Dog are the business or as the vernacular will have it ‘the dogs bollocks’.   We had all been hanging out for this return gig.  This was a risky outing for them as there would almost certainly be an attempt to capture them live during the performance.  The sight of determined looking technicians carrying a tangle of cables and heavy suitcases down the 1885 staircase club confirmed this.  IMG_6222

‘Dr Dog’ are some of the best musicians that the Auckland Jazz Scene has to offer.   Roger Manins – tenor,  Kevin Field – piano, Oli Holland – bass and Ron Samsom – drums.   They all teach at the Auckland University Jazz Studies course where Ron Samsom is program director.    They are teachers, but they also gig regularly.   These guys have honed their skills over many years of playing with the best.  Suffice it to say that expectations are always high when any one of them performs, but when all four appear on the same stage it is a noteworthy event.

Dr Dog is a showcase for the talents of the four band members, all of whom have written original material for the occasion.  I suspect that these compositions are not for the faint hearted and a sneak look at the heavily annotated scores confirmed that.   It was dog eat dog on the bandstand as each musician tried to outdo the other.  Heads would occasionally bend low over the charts in mock dismay and between numbers quick animated conferences were held.  This was not a set list designed to give band members an easy ride.   It was the audience who got the best of these exchanges and while the sweat poured off the band we lapped up the music.  This was a rare treat, just as we knew it would be.

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As you would expect from a dog band there were cool licks a playful approach to the music, a meat raffle and stick chasing.   I filmed most of the sets and I was particularly impressed with the first number up.  It was obvious that these guys had their eye on the ball.  I have put up that clip titled ‘Dideldideldei’.   Being Oli Holland’s composition I knew that it would be well written and have a back story (perhaps involving fishing?).  Oli has a strong sense of irony which is in his titles.   Dideldideldei was evidently a phrase uttered by a Jazz hating apartment dweller in a German comedy, who had the misfortune to live above a Jazz club.  He would shower the band with rotten fruit while yelling, “this is not music it’s just dideldideldei”.    All of the tunes had equally illusive or improbable titles and that only added to the fun.

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Roger contributed ‘Peter the Magnificent’ which he had written in honour of Peter Koopman and tune called ‘Evolution’ (dog evolution).  He gave an explanation of the titles but as I was near the back I couldn’t hear because the people up front were laughing so hard.  Kevin contributed a few tunes and one named ‘Synaesthesia’ referenced the unusual condition which he tells me afflicted one of the great classical composers.  Synaesthesia is a rare condition where colours are heard as sounds or sounds as colours.   Pat Martino Jazz guitar master uses this affliction as a vehicle to assist his improvisation.  In the end I lost track of who had composed what because the dogs only wanted to play.    While this was occurring they were captured by a sound man named John.  An album and a properly attributed track list should result from that.   This band is long overdue in recording and I am hoping that the live take is adequate to purpose.  If the sound is not good enough then they should shake their tails and get to the studio ASAP.   I for one can’t wait.

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Who: Dr Dog – Roger Manins, Kevin Field, Oli Holland, Ron Samson

Where: CJC Creative Jazz Club February 20th 2013

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February 26, 2013 · 8:08 pm

Dixon Nacey – Zauberberg IV

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Dixon Nacey always exudes enthusiasm.   He is one of those musicians who you cannot think of separately from his music.   He is articulate, a family man and a thoroughly well-rounded human being, but music never the less defines him.  He is one of New Zealand’s great guitar talents and so people trip over themselves to attend his gigs.  Dixon appears in a variety of contexts: teacher, composer, sideman (to the likes of Alan Brown and sometimes up & coming musicians like Rebecca Melrose) but most often as leader or co-leader.   This is the guitar go to guy.

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We tend to associate Dixon with the more up tempo pieces where the changes are gleefully eaten up, but like Marc Ribot he can surprise with thoughtful acoustic offerings.  When this occurs there is a hush because the nuanced story telling and the rich voicings take us to warmer place than we ever imagined possible.   We heard both facets during the Zauberberg IV sets and the contrast spoke volumes about Dixon.  A number of originals (composed by  he and Oli Holland) were reharmonised versions of standards.   ‘Gutted and Gilled’ could only have come from the pen of Ollie Holland the obsessive fisher.   It is a metaphor for what this band can do with a tune; paring it to the bone.  Dixon’s red Gibson was no where to be seen and he playing another brand of guitar during the 13th February CJC gig.  He was trying out a handsome looking custom-made guitar (the name alludes me).   This was a wonderful instrument with the warmth of a Les Paul and the bite of Strat.

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‘Day and Night’ made references to ‘Night & Day’ but they emerged as glimpses arising from a darker tapestry.   ‘Conversations with Dr Small’, (another great title) had quirky adventurous twists and pointed squarely at Dr Stephen Small (pianist), who I presume this number was referencing.  ’If I Should Lose You’, ‘Recordame’, ‘Everything Happens to Me‘, ‘Softy as a Morning Sunrise” and ‘Have You Met Miss Jones were a sampling of the standards played.  ’Softly as a Morning Sunrise’ was played with such high-octane and at such a velocity that we were pulling ‘G’ forces.  On the other hand the beautiful ballad ‘Everything Happens to Me’ was approached in a loving and respectful manner.  Jason Jones has a gorgeous tone and when Dixon comped behind him with warm soft chords the mood was perfect.   It is right to place such numbers in juxtaposition, as contrast is a vital ingredient of any rich palette.  IMG_6079

Oli Holland on Bass has long occupied an unassailable position on the Auckland scene.  It was a good day for New Zealand when a long sea voyage washed him up on our shores.  He is increasingly providing compositions for the more experienced musicians about town.   Compositions which both challenge and please.   I have often witnessed band members commenting, “Oh this is challenging”, but the results speak for them selves.

Andrew Keegan on drums may be a relative newcomer to Auckland but he has made his mark already.   He brings with him a wealth of experience (including from offshore).  CJC audiences are always pleased to welcome him back.  His posture when drumming is compact and that makes him great to photograph.   It is as if he is drawing all of his energy into a circumscribed arc before unleashing its power.

Jason Jones is the last member of the group and he is somewhat of an enigma.   People who have been around the scene for a while remember him well, but his public appearances have been scant in recent years.   He teaches at the Auckland University Jazz School and was Berklee Trained.

There is often an interesting back story to a band and so I asked Dixon hoping to get gain a few insights.  His reply was typically self effacing but actually yielded rich pickings.  Many years ago Oli had been in a band in Germany named the ‘Zauberberg III’ and they had recorded several times.   This gig was actually booked over a year ago as the ‘Alain Koetsier Quartet’s’ second appearance.    That particular line up was Alain, Dixon, Pete France and Oli (see earlier review).  As the time got closer Alain unexpectedly found himself booked for a week of recording for the second Nathan Haines Warners album.  Pete France had to drop out suddenly and that left Oli Holland and Dixon Nacey with a week to go and short by two band members.   When in doubt re-invent yourself and above all improvise.   The new name came from Oli, Jason Jones was coaxed back into performing and the often complex set list (typical of Dixon and Oli) emerged in the nick of time.

Jazz line ups are often conjured out of thin air and I have witnessed quite a few such manifestations.   It is my observation that flying by the seat of your pants can  often yield the best results.   This is how humankind has always moved the paradigm: our advances over the millennia have always come from risk taking.  In life and Jazz improvisation is everything.

I have posted the Matt Denis tune because it is so beautiful that I even managed to shed a tear through a very bad cold.

Where: Creative Jazz Club Auckland

When: 13th February 2013

What: Zauberberg IV

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November 7, 2012 · 6:28 pm

Sean Coffin (AUS)@ CJC

On Wednesday the 24th October we had an overseas visitor playing at the club, tenor saxophonist Sean Coffin.   This has been a great year for the Auckland Jazz scene and especially for the CJC (Creative Jazz Club) as a number of interesting local bands, out-of -towner’s, and overseas acts have appeared.  It’s the clubs imperative to offer genuine diversity, and this has caused the CJC to extend its reach.   Because Roger Manins has such a well established Australasian reputation and because the CJC is increasingly seen as a great club to play in, the net is ever-widening.   We are on the Oceania Jazz circuit fair and square.  

Sean Coffin is known in his native Australia for his stellar educational work, but it is his high level tenor playing that draws people to him.  He is among the best that Australia has to offer.   For many years he has been accompanied by his brother Greg (piano) and the work of this formidable pair is well recorded.   Sean studied at the Berklee School of Music and later as a postgraduate at the Manhattan  School of Music.  Among his many teachers I would single out George Garzone, as this world leading tenor player appears to have created a cadre of exceptional students in Australasia.  

At the CJC Sean showcased his most recent compositions and they were mostly themed around his children.  This proved a good source of inspiration as the numbers ranged from heart-felt ballads to some faster paced offerings (one referenced children at play).   These lovingly drawn compositions were well crafted and executed and no one had difficulty relating to them.   It is arguably risky to focus exclusively on family material, but the gamble paid off because the improvisations were tender without once descending into introspective noodling.   The integrity of the compositions as Jazz vehicles was always evident.  A lovely ballad to ‘Garz’ (dedicated to George Garzone) rounded things off nicely.

A local rhythm section was put together for this gig and in due deference to the visitor he was given the best.  Ron Sampsom (drums) and Oli Holland (upright bass).  With Kevin Field overseas, Dr Stephen Small took the piano chair.  No one needs to puzzle over my views on Ron Sampson and Oli Holland as my support for their work has been constant over time.  These two go way beyond the merely competent; they are solid, reliable musicians and they are also gutsy enough to handle new challenges without flinching.   Listening to them live or in a recorded situation will tell you everything you need to know.

Seeing Stephen Small again was an unexpected pleasure, as the patch he normally patrols is on the periphery of the Jazz world.  Because he teaches classical piano at Auckland University it would be easy to overlook the fact that he has other strings to his bow.   He is a madman on keyboards and I have seen him cut loose on banks of synthesisers during a Jazz fusion gig.   To say that his fusion performance was riveting would be an understatement.  He created textural layers of sound which swirled and soared alternatively.  Put him together with a fusion versed guitarist like Nick Granville or Dixon Nacey and he will take your ears apart in the best possible way.  Stephen is also a highly talented, straight-ahead, post-bop pianist and judging by the whoops of delight as he negotiated his solo’s he needs to get down to the CJC more often.   I am casting my vote for one of his Jazz fusion gigs.

Sean worked hard all evening and at the end he invited Roger Manins to the bandstand.   There was obvious respect between the two men but that didn’t stop them from going hard out.  When the best tenor players occupy the same bandstand, it generally ends up being a joyful celebration rather than a cutting contest.   This was respectful but no quarter was given.

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October 2, 2012 · 12:55 pm

Nick Granville Quartet/Quintet@CJC

The CJC Jazz club in Auckland has been located in the 1885 Britomart building for nearly two years now and it goes from strength to strength.  There are important reasons for this success such as the ambience and friendly vibe, but the program of music is the real clincher.  Patrons see a real variety of bands and more importantly be exposed to improvised music that they might not otherwise encounter.  They see surprisingly talented local musicians who were hitherto unknown to them; also musicians from other cities and countries.   This week we heard a well-known and talented guitarist who works as a professional musician in the Wellington region.  I refer of course to Nick Granville.   This was not his first visit to the CJC but it was his first to the 1885 basement.  

The job of selecting bands falls to Roger Manins CJC program director and his choices really do count – he has a genius for this.   Without his approach we would tend to have long residencies and then audiences could drop off because people would say, “Oh that was great – but we saw them a few weeks ago”.  On Wednesday the person next to me said, “I don’t dare miss a single week because they are all such great gigs”.  The Nick Granville Quartet/Quintet definitely fits that category.

I have known Nick for a few years now and along with many Aucklanders saw him perform with the Roger Fox Wellington Jazz Orchestra and Alan Broadbent – later Patti Austin.  He is a core member of that big band and in that and in other configurations he is regularly called upon to accompany visiting artists such as Kurt Elling, Patti Austen, Bob Mintzner, Bennie Maupin (and an endless list of notables).  He regularly plays for television shows, embassies, Wellington functions and he has toured the USA.   His bag is anything from fusion, gypsy Manouch, straight ahead and bebop.  In short he is a professional musician and gigging is not a part-time thing for him.  Nick is also a keen writer and although he keeps this talent deliberately below the radar because of time constraints, he often writes big band charts.  

Nicks CJC gig was one I looked forward to and it also gave me the chance to catch up with him.  I learned that he had brought his beautiful Gibson Les Paul with him and we talked at length about this often underrated guitar.   Contrary to the opinion of some it is very much a Jazz guitar and its unusually warm sound and sustain make it special to my ears.   Pat Martino, Philip Catherine and others have used it to great effect and Les Paul was himself a Jazz Guitarist (playing at the Iridium in NY right up until his recent death).  The tune that I have chosen to post as a You Tube clip is a lovely composition of Nicks titled ‘Blues for Les’ (Les Paul).  Nick wrote this tune while waiting for a plane – using only an iPhone and a scrap of paper.

The reverb pedalling as he comps behind Roger Manins is gorgeous and it is never too loud or overdone.   Nicks, Oli’s and Rogers solos are all really memorable and one is left with that warm glow that comes from a well written ballad.  Everyone knows that Roger favours fast burners but his work on this blues ballad is breathtaking.   Rumour has it that this was the first time that he had seen the chart and considering that the lighting was so low that only a bat could have read it he worked wonders.  Ron Samson is a drummer who never disappoints and he gave us a solid lesson in how to match the traps to the occasion.  No one locally does brushes or mallets like Ron.

All of the tunes were compositions by Nick Granville and as with all good set lists they fitted together well.  There was a tune with a distinct New Orleans feel and it swung against a raunchy loose vamp.   This was an open invitation to Roger and to those of us that had not seen his bar hopping soul jazz persona before it was a revelation.

One of the tunes was a little loose around the head but it didn’t matter a damn.   This was good time music, a live experience to put a grin on our faces.  We don’t want somber faces and chamber music, we want authenticity, nice compositions, an engaging leader and great playing.  Nick gave us all that at the CJC and I can’t wait to see how these new compositions and others in the pipeline evolve.   Thanks man.  

The band; Nick Granville (Gibson Les Paul guitar), Roger Manins (Selmer tenor Saxophone), Oli Holland (upright bass), Ron Samsom (drums), guest Mike Booth (trumpet).

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September 26, 2012 · 11:47 am

Jamie Oehlers NZ quartet@CJC

There are good gigs, bad gigs, predictable gigs and everything in between. Mostly we appreciate what is before us but just occasionally, we attend a gig that is every kind of wonderful. This was it.

Jamie Oehlers has the sort of reputation that scares aspiring tenor players and creates life-long fans. This man is a monster on the tenor saxophone and no amount of scrambling for adjectives on my part is ever going to capture the intensity of his performance. Luckily I filmed much of the gig and so I will put up a number of cuts on You Tube over the coming weeks. This gig won’t be forgotten as it fizzed and washed over us like a blissful tsunami of sound.

Typical of many Australasian musicians Jamie Oehlers is self-effacing, and quietly humorous, but his down to earth persona remains intact only until he puts the horn in his mouth. Then we see confidence, elegance, fire-breathing and effortless virtuosity of a sort that almost defies belief. He is one of those musicians who reaches beyond the known, bringing the rhythm section and the audience along with him. His solos have an almost mystical coherence; as if guided by a universal logic that he is able to share with the audience.

Those who saw the performance at the CJC on the 19th September 2012 will understand exactly what I am saying.

As marvellous as Jamie was, his local rhythm section was there for him every inch of the way. Not for the first time I marvelled as Kevin Field (piano) responded to every challenge, managing to inject a sense of originality and invention into a number of almost unassailable standards. Kevin stands out as a pianist as he understands perfectly which chords to accent, when to lay out and when to work harder behind the soloist. He is exactly the right pianist to play behind a talented visitor.

Oli Holland was so good during this gig that I embarrassed him with a bear hug afterwards. He could have been Reggie Garrison at one point as the urgent stabbing notes from his bass propelled the others on. Listen to the first clip below and particularly where Kevin is soloing. This unit was never less than in perfect lockstep.

Frank Gibson on drums was equally marvellous. You never know how drummers will respond to high-octane material like this but he responded by reaching deep within and capturing every nuance of the set. I have never heard him perform better.

The first set began with the standard ‘On a Clear Day’ (Lane), ‘Alina’ AKA ‘Variation 11 from Suspended Night’ (Tomasz Stanko) [one of my favourite tunes], ‘Aisha’ (John Coltrane), ‘Take the Coltrane’( Ellington-Coltrane) , Portrait in Black and White ( Jobim) and more.

Near the end of the second set the band decided to play John Coltrane’s ‘Resolution’ from ‘A Love Supreme’ (1962). ‘A Love Supreme’ is hardly ever played and more is the pity. This avoidance relates to the holy grail status of ‘A Love Supreme’ among post Coltrane saxophonists. My view is that we should honour it and especially in this week. John Coltrane was born on September 23rd. It is a shame not to have all four movements performed together though; ‘Resolution’ is after all only a part of a mystical four piece puzzle which makes perfect sense when heard in its entirety.

Jamie stated the theme over and again, but each time working in subtle re-harmonisations and embarking upon brief angular explorations. We knew intuitively that we would end up in a place of almost unbearable intensity and we were on the edges of our seats in expectation. This was not a gate to be rushed and although we understood that, the anticipation was palpable. Tension and release is at the very essence of Jazz and Jamie achieve this end by stalking his prey in measured steps like a confident hunter.

‘Resolution’ is an Everest of a tune utilising Coltrane’s new-found ideas which were somewhere between hard bop and free. Jamie interpreted intelligently without trying to out do Coltrane. He made it his ‘Resolution’ as well. Kevin field was the same, as he took a more oblique approach than McCoy Tyner. This was a perfect homage without being a slavish imitation.

At the end of the gig we received an additional treat when Jamie asked Roger Manins to play. The best moment was when they played ‘On Green Dolphin Street‘ (Washington). With these two masters working the changes and probing every hidden corner of the melody, it reminded us that standards interpreted with integrity can sound as fresh as at first hearing.

Jamie Oehlers lives in Australia where he runs a Jazz School. He has so many awards that storage must be problem (including being judged winner of the ‘World Saxophone Competition’ in Montreux by Charles Lloyd and Bruce Lundvall of Blue Note). He has put out 10 albums as leader as well as being sideman for the whose who of the Jazz world.

I ran into Jazz guitarist Dixon Nacey as I was leaving and he summed it up nicely. “Man I have just received a series of Jazz upper-cuts”.

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May 7, 2012 · 12:39 am

‘Dr Dog’ takes the Jazz Pulse of Auckland

Animal lovers, children and Jazzers alike were delighted to learn that the ‘Dr Dog’ Jazz quartet would be performing in the Creative Jazz Club (CJC). This was somewhat of a dream band as it featured ‘I cani popolari‘ from the halls of academia; Roger Manins (tenor), Kevin Field (piano, Rhodes), Oli Holland (Bass) and Ron Samsom (drums).

The band having no clear leaders could follow their noses, but in spite of that they worked as one throughout the evening. In Jazz-dog years they represented around 317.4 years of experience and so their ability to act in a disciplined manner was hardly surprising. They took their lead from each other.

Roger had managed to sniff out the microphone first and so the job of introducing the band members and the numbers fell to him. An endless stream of puns and dog stories followed and at one point some frank observations on the variability of dog intelligence risked causing serious offense to Afghan owners. As none appeared to be present the crises was averted and the dog related compositions flowed in happy succession.

If anyone thought this to be a frivolous exercise, they should be disabused of that notion. This was a band which had ‘chops’ (OK I had to put that in), the ability to delight a crowd and a string of intelligent compositions to shine over.

It is expected that the canine metaphors and jokes will continue to dog this band for some years; peaking around 2014 before eventually subsiding. As a departure from the normal CD prize there was a meat raffle. A cat named Jason took that prize.

The music that we heard was so good that a few of us are going to lay a trail of sausages; leading from the Auckland University School of Music Jazz Programme to the nearest recording studio (Yorkie Street studios or Ratter Records).

In researching this Canine Jazz phenomena I recalled another dog band which had performed at the CJC . Guitarist Neil Watson’s ‘Zen Dogs’ performed at the club about a year ago. When I ran into Neil months later I asked him if ‘Zen Dogs’ would be performing again soon. He answered in that enigmatic way of all Zen masters. “Oh that was a concept band”. “But will they be performing again”, I asked?. “No the band was literally a concept – not an actual band”. Confused and pondering the meaning of this Koan, I could not help wondering. Had I imagined the entire gig?

‘Dr Dog’ on the other hand is a band grounded in realty. A cartoon dog band entirely relevant to our times.

Footnotes: I have used sepia photographs to show respect, as they add a certain gravitas befitting the age and experience of the band. All photos are mine including ‘Dr Dog’ who was caught in Chelsea London and subjected to Photoshop without his permission. You will be pleased to learn that I managed to avoid using the following: barking up the wrong tree, woofers and Roger was a wag.

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March 13, 2012 · 10:59 pm

Alain Koetsier Band @ Finding Kiwi ‘Standards’

I have watched drummer Alain Koetsier perform over the last year and his credentials on the traps are unimpeachable.  Alain is a drummer with a modern feel and it is plain to see why so many of our top Jazz groups utilise him.  This was probably his first outing as leader and he had chosen wisely on two fronts.  His band mates were consummate professionals and their approach to the music was intuitive.  They interacted as if with one mind.  The second thing Alain did well was to select a set list of recent compositions by New Zealand Jazz Musicians.  I liked the concept.

People expect a band to play their own originals but when a set list focuses on a wider spectrum of Kiwi Jazz compositions it feels respectful.  It somehow lifts the tunes to another level of availability; a place of wider appreciation.  Doing this is a good start point in identifying our own ‘standards’ and some of the tunes played could well reach that bench mark.  As the scene continues to mature this will surely happen.

Alain & Dixon

Alain & Dixon

I was pleased to hear two tunes which had impressed me at recent gigs; ‘Dicey Moments’ by Oli Holland and the wonderful ‘Ancestral Dance’ by Nathan Haines.   Both of these new compositions are distinctive, clever and memorable.  Dixon Nacey compositions also catch the attention as he has a knack for locating the right hooks while providing a solid base for improvisation.The first set had contained ‘Bad Lamb’ (Dixon Nacey).    The tune had nice chordal voicings and the way it unfolded led us easily into the heart of the tune.

Another memorable number was ‘Tree Hugger’ by the Auckland-born bass player Matt Penman.   Matt has moved into the upper echelons of Jazz bass, occupying a respected place on the world scene.   Maybe he will return the compliment one day and acquaint North America with a few of the other compositions.

The gig was fun to experience and obviously fun to play as the musicians enjoyment of what they were doing was easy to discern.  Like many Jazz gigs there was a high degree of spontaneity and perhaps this came from being thrown in at the deep end.   Working musicians seldom have a lot of time to rehearse and when confronted by complex charts they appear to relish the prospect.

The musician that I was unfamiliar with was Pete France on tenor.   I know that he has played the CJC before and my friends tell me that they had hoped for his return one day.    His tone is rich and full and his improvised lines meaningful.   He is also relaxed on the bandstand and when you consider the calibre of his band mates this ease of manner speaks volumes.

Oli Holland

The band featured Oli Holland on bass.  His approach and focus drew you in inexorably as he demonstrated chops, impeccable timing and melodic invention.  His skills are considerable, as he can move from contrapuntal walking bass to melodic invention in an eye blink.   Oli gave his best, but then he always dies.

Pete France & Oli's hand

Lastly I come to Dixon Nacey.  His playing is widely appreciated throughout the NZ Jazz scene. As good as he is, he always strives to do better.   His compositions sing to us and his chordal work and rapidly executed lines astound.    It is good to be in a town where this man is playing and long may it continue.

Well done Alain – more please.

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March 5, 2012 · 12:21 am

Oli Holland’s Shortland Street Gig

Oli Holland - Roger Manins

I recently received an invitation to Jazz Bassist Olivier Hollands DMA (Doctor of Musical Arts) recital.  It was titled ‘Dicey Moments’.  The gig was held in the Kenneth Myers centre at the top of Shortland Street.   This ornate crenellated building has a solid place in the history of New Zealand Music as it was formerly the home of the old Shortland Street TV studios. In its time the studio had hosted various radio orchestras and a few Jazz programs had emanated from there.  Stephen Small

When an experienced musician and gifted educator like Oli is performing a Doctorate recital it is bound to be an extraordinary gig.  Just playing a few standards would never cut it as the judging panel would certainly be looking for something unique and innovative.  In my view the performance easily met the required standard and all those who attended (mainly musicians) were deeply impressed.  Oli had written a number of complex charts for the recital and these conveyed a profound understanding of how improvised music can work.  While they were undoubtedly a challenge to play, they were still incredibly accessible to the listener.  The tunes flowed as fresh as a mountain stream and better yet they provided wonderful vehicles for the musicians to interpret and blow over.  Ron Samsom

I assume that the brief would be to choose band mates with considerable experience, solid reading skills and depth.  Band mates who would augment the vision, excel, but never overpower the lead instrument or the music.  These musicians were among the best on offer and they understood very well that this was about the music.  Oli remained firmly in control while encouraging the musicians and loosening the reigns when required; this is what a good leader does.

Oli had split the recital into two district halves; so to achieve a chiaroscuro effect and the appropriate contrast in styles, he had chosen two different bands.  One was a straight ahead jazz unit with Roger Manins on tenor, Kevin Field on piano and Ron Samsom on drums (Oli on upright bass).    The second unit was a fusion band with Dr Stephen Small keys, Nick Granville solid body guitar and Stephen Thomas drums.  Once again Oli played an upright bass, which worked exceptionally well, as the slap and bite provided a real contrast to the non acoustic instruments.  In the manner of all good leaders he joked with the audience.   “I used to agonise about the tune titles” he said, “but one day I had the profound realisation that it doesn’t matter what you name a tune. The next tune title has nothing what-so-ever to do with the music”.

The musicians gave their best and I have seldom heard any of them play better. The fusion half had the audience gasping in delight, as Nick Granville’s guitar, soared around Stephen Smalls fusion keyboard flurries.  The success of this recital is a tribute to the musicians but above all it is a tribute to Oli Holland.  His bass lines whether soloing or underpinning his charts worked perfectly.  Dr Oli it is then.

Nick & Oli

Nick Granville & Oli Holland

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